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Dickins' Sony Deal Opens New Chapter by Ajax Scott Rob Dickins Bas Teame Former Rival Sony Music Three Months After Leaving Warn
Dickins' Sony deal opens new chapter by Ajax Scott later building a team of up to 20. Rob Dickins bas teame Instant Karma will sign around five rA, ^ threeformer months rival Sony after Music leaving warner ri likelyartists to a be year, from most the UKof orwhom Ireland. are hisMusic music to launchindustry the career. next stage of Dickins says he will not specifically S Dickins' new record label Instant goclose chasing to expiring. after those Tm notacts. going If they to with the hasfirst got single off torelease a fiying under start the handling partnership Interscope - My releasesName Is inby the US UK they'reare interested going to in call," being he part says. of that therapper single, Eminem released - enjoying next Monday a huge initial(March shipout. 29), have Around been 220.000 ordered unitsby of months of negotiations between runningDickins, Warner's who spent UK ninepublishing years theretaiiefsVwhile Top 40 of the the Airplay track waschart. yesterday "Ifs appealing (Sunday) right on acrosscourse theto move board," into says Dickins, his lawyer Tony Russell arm before moving to head its Polydor head of radio promotionl" TU.Ruth ..U.._ Parrish. A V.UK promo visit will inelude wasand afinaliy list of whittled would-be down backers to Sony that New partners: Dickins (second isrecord in no company hurry toin 1983,issue addsrecords. he im_ rrShady LPes - thiswhich week debuted on The at Bignumber Breakfast twoThe in and the CD:UK.States earlierThe this (l-r)left) Sony in New Music York Worldwide last week with "Ifs really not important when the onth - follows on April 12. -
Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T. -
Andy Higgins, BA
Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support. -
Popularmusikforschung39-03: the Value of Live Music
THE VALUE OF LIVE MUSIC Simon Frith From April 2008 until April 2011 I directed a research project on live music in Britain.1 We are now writing up our findings,2 and since February 2012 we have had funding for a follow-up project, designed to establish ongoing links between academic researchers, the live music industry and the wider public.3 The original research project was organized around an investigation of the business of live music promotion and a crucial part of our method was interviewing. We talked to more than 100 promoters, from the MD of Live Nation in the UK and such big names as Harvey Goldsmith to local club owners and enthusiasts. We covered all types of music (including classical) — which is one reason why our findings will fill three books. One of my roles in the research team is to present our work to the live music industry itself, whether by attending their trade events and writing for their trade papers or by inviting them to seminars we organise. Such »knowledge exchange« (to use current academic jargon) is not without its problems and two kinds of miscommunication between university-based researchers and live music industry players particular interest me (and have informed the design of our follow up project). First, we apparently have quite different interpretations of a shared phrase, »the value of live music«. Their take is, it seems, straightforwardly economic: the value of live music can be measured by how much money people are prepared to pay for it. Our approach, by contrast, is more philo- sophical (or up our own backsides, as the industry would say): what is it that people think they are paying for? What exactly do they value? I'm not 1 See http://www.gla.ac.uk/departments/livemusicproject. -
BBC MUSIC MAGAZINE BBC MUSIC MAGAZINE 43 Films with Live Orchestra
Films with live orchestra he took a break from the ‘day job’, hitting the road on his own blockbusting concert tour; and while this wasn’t about live scores exactly, it offered the composer (and musician) the opportunity to see for himself the appetite there is right now for live film music. Was he surprised at its success? ‘A little,’ he admits. ‘The first thing I said to (concert promoter) Harvey Goldsmith was “do you think anyone will come?”’ Come they did, and in their thousands, as Zimmer and his hand-picked ensemble played to packed arenas across the globe. But playing a Zimmer score live in concert is no easy feat. ‘I’ve written so many things that are not easy to pull off in front of a live audience,’ he Symphonic Brando: explains, ‘because I use odd line-ups. I love David Newman conducts the line-up of 28 cellos and eight basses only. the score to On the It’s hard to get that in your normal symphony Waterfront in New York orchestra, plus the brass section is going to be really cross with you because there’s nothing for them to play. I remember an orchestra taking Pirates of the Caribbean out to do live and I said tracks that are played simultaneously with the “you’d better book two complete French horn music. Synchronicity, speed and rhythm are still sections, because they need to take a break – key, however, and remain a specific challenge, their lips will literally start bleeding!” When we as he explains. -
Blitz Magazine Issue 51 from March 1987
MARCH 1987 No.51 £1.10 Raymond Carver Gang Warfare Rupert Everett The Snap Pack Paul Morley on TV Oliver Reed Cybill Shepherd Peter Cook 4 Front: What's Happening 4 Dennis Hopper, Films On Four 6 Isadora Duncan, The Model Gallery 8 Marilyn Monroe, McDonald's, London Daily News 10 Condom Wars, Wranglers 40th Anniversary 12 Lost in America 14 Print 14 Ramsey Campbell, Paperback Choice 15 New Fiction, New Non-fiction 16 Film 16 New Releases 18 On 'Release Cover star Rupert 22 Television Everett, film actor 22 Paul Morley on The Box soon to turn pop 23 Video Reviews singer. 24 Music BLITZ MAGAZINE 24 The Bodines I LOWER JAMES STREET 26 Album Reviews, New Product LONDON WI R 3PN 28 Dancefloor Tel: (01) 734 nil 30 Oliver Reed: another drink, another film, by Mark Brennan PUBLISHER Carey Labovitch 34 Fashion: what a catastrophe MANAGING EDITOR Simon Tesler EDITOR Tim Hulse 40 La Vida Loca: gang warfare in the FASHION EDITOR Iain R. Webb LA barrio, by Laura Whitcomb DESIGNER Jeremy Leslie 46 Fashion: y viva espagna ADVERTISING MANAGER Cherry Austin 48 Rupert Everett: on becoming a GENERAL ASSISTANT Sarah Currie popstar, by Fiona Russell Powell FASHION ASSISTANT Darryl Black 54 Whaling: bloodsport in the Faroe CONTRIBUTORS Fenton Bailey, Tony Islands, by Steve James Barratt, Martine Baronti, Robin Barton, Mark Bayley, Malcolm Bennett, Mark 56 Cybill Shepherd: the fall and rise of Brennan, Peter Brown, Gillian Campbell, Mark Cordery, Richard Croft, Andy Darling, Bruce Dessau, Steve Double, Simon Garfield, Richard Grant, John Hind, David a Moonlighting star, by Hil lmy Hiscock, Philip Hoare, Mark Honigsbaum, Caroline Houghton, Aidan Hughes, Marc Johnson Issue, Steve James, Dave Kendall, Jeremy Lewis, Mark Lewis, Judy Lipsey, Elise 62 Fashion: the newest romantic of all Maiberger. -
Analysing Live Music in the UK: Findings One Year Into a Three-Year Research Project
Journal of the International Association for the Study of Popular Music Analysing Live Music in the UK: Findings One Year into a Three-Year Research Project Simon Frith [email protected] University of Edinburgh Abstract This is the first of four related articles in this journal presenting findings from an ongoing research project on the history of live music in the UK since 1950. This introductory article outlines the project’s starting assumption—that popular music culture in this period was organised around the constantly changing relationship of the recorded music and live music sectors—and suggests that this is to challenge the conventional academic assumption that the post-war history of popular music can be written as the history of the record industry. To approach popular music history from the perspective of live musical promotion means a) rethinking periodisation; b) examining a very wide range of musical activities; c) paying attention to the regulatory and the promotional roles of the state; d) understanding the importance of locality and place; e) reconceiving the power structure of musical institutions. Keywords: live music, promotion, the state. In his excellent book, Making Easy Listening. Material Culture and Postwar American Recording (University of Minnesota Press 2006), Tim J. Anderson suggests that “the period from after World War II to the rise of rock music as the dominant genre of the day” has been underresearched. This was the time, he suggests, when “the recording, in effect, replaced sheet music as the dominant material unit of exchange and musical distribution”, and the final effect of this transition was profound: Indeed, no single history or historian could do justice to this change, for its impact was so widespread and so fundamental that the record would overtake the importance of live performance in terms of its industrial, aesthetic, and, eventually, cultural influence (Anderson, 2006, pp.xviii-xix). -
There Used to Be a Competitive, Uneasy Relationship Between Record Companies and Radio, but Now It's Too Cozy
MANAGING DIRECTOR, HARVEY GOLDSMITH Harvey (PRODUCTIONS Goldsmith _Veteran promoter laments `faceless, soulless' live sector. The managing director of Harvey Goldsmith Productions is almost as familiar a figure on Did Live Aid have any lasting cul- the live music scene in the United Kingdom as some of the heavyweight talent he has tural Impact? booked during four decades. On Oct. 30 in front of an industry audience at London's It was the point when rock music Grosvenor House Hotel, Harvey Goldsmith will receive this year's Music Industry Trusts became establishment. From that award - bestowed annually to an individual deemed to have made a lasting contribution point onwards it had a wider audi- to the British music industry. Since its launch in 1992, the award has raised more than £2 ence, but it started to lose its edge. million ($3.75 million) for its designated charities, Nordoff Robbins Music Therapy and The national press in Britain the BRIT Trust. grabbed hold of music and made Goldsmith's career as a promoter began in the mid- 1960s, when he booked bands while it a mainstay, and I don't think it's at college in Brighton, on England's south coast. By the early 1970s, with U.S. experience been the same way since. already under his belt, he was working with such acts as the Rolling Stones and the Who, Previously, the media looked at and was instrumental in developing Britain's arena and stadium rock circuits in Britain. rock musicians as hairy, drug - In 1985, Goldsmith booked Live Aid -a role he fulfilled again 20 years later for Live 8. -
42001 Sworders OOTO 11 Feb.Pdf
OUT OF THE ORDINARY at the Stansted Mountfitchet Auction Rooms Tuesday 11 February 2020 at 10am ORDER OF SALE Lots 1 - 27 All the Fun of the Fair Lot 28 - 36 Precious Things Lots 37 - 84 Witches & Monsters Lots 85 - 126 Folk Art Lots 127 - 161 Stranger Things Lots 162 - 185 Lights, Camera, Action Lots 186 Easy Rider Lots 187 - 195 Light Fantastic Lots 196 - 226 After Death Lots 227 - 238 Fifty Shades... Lots 239 - 284 Life on Earth Lots 285 - 292 Call a Doctor Lots 293 - 297 Corpus Christi Lots 298 - 306 Counter Culture Lots 307 - 309 North Korea Lots 310 - 315 Live Aid 1985 Lots 316 - 320 Extinct Lots 321 - 326 Harry Potter Lots 327 - 351 War and Peace Lots 352 - 377 An Architectural Eye Lots 378 - 402 Contemporary and Modern Lots 403 - 408 Gabriel Summers Lots 409 - 420 Planes, Trains and Automobiles Lots 421 - 461 Stranger Things Lots 462 - 491 Gastronomy VIEWING TIMES Friday 7 February 9am - 5pm Sunday 9 February 10am - 1pm Monday 10 February 9am - 5pm Tuesday 11 February From 9am To obtain more images and condition reports for lots in this catalogue, please visit our website www.sworder.co.uk Auction highlights are on view at our London office FURTHER INFORMATION Wednesday 22 January - Monday 3 February Sworders Auctioneers Tel: 01279 817778 15 Cecil Court, London WC2N 4EZ Email: [email protected] Telephone: 0203 971 2500 | [email protected] Contact: ONLINE BIDDING Bid live at www.sworder.co.uk (0% surcharge) REMOVAL OF LOTS All lots should be removed by 5pm on Friday Mark Wilkinson Alex Hallet Errol Fuller 21 February 2020. -
Inhaltsverzeichnis
Radioquoten als Marketinginstrument zur Bekämpfung der Krise in der Musikindustrie? Seite 1 von 136 Inhaltsverzeichnis Inhaltsverzeichnis .........................................................................................................................1 Abbildungsverzeichnis ..................................................................................................................4 1 Einleitung...............................................................................................................................7 1.1 Krise der Musikindustrie ...............................................................................................16 1.2 Exkurs: kulturelle Vielfalt ..............................................................................................20 2 Radioquote und rechtliche Fragen.......................................................................................23 2.1 Europarechtliche Fragen ..............................................................................................23 2.1.1 Europäische Menschenrechtskonvention..............................................................24 2.1.2 Grundfreiheiten der Europäischen Union ..............................................................25 2.1.2.1 Warenverkehrsfreiheit ....................................................................................26 2.1.2.2 Diensleistungsfreiheit .....................................................................................27 2.2 Internationale Handelsabkommen................................................................................28 -
Rather Than Imposing Thematic Unity Or Predefining a Common Theoretical Ground, the Present Issue Seeks to Demonstrate The
Table of Contents Introduction ............................................................................................... 1 Chloé Avril Robert Louis Stevenson and Popular Culture ......................................... 11 Linda Dryden Beyond the Abyss: Jack London and the Working Class........................ 25 Ronald Paul Whose Rules Rule?: Grammar Controversies, Popular Culture and the Fear of English from Below .................................................................... 41 Joe Trotta Eating ‗Local‘: The Politics of Post-Statehood Hawaiian Cookbooks ... 67 Amy Reddinger Feeding the World a Line?: Celebrity Activism and Ethical Consumer Practices From Live Aid to Product Red................................................. 89 H. Louise Davis Pretty in Pink: The Susan G. Komen Network and the Branding of the Breast Cancer Cause.............................................................................. 119 Laurie Gilmore Selleck Patron Saint of Lost Causes, Live on the BBC: The Yes Men, Humour and the Possibility of Politics ................................................................ 139 Carolyn Veldstra Remaking Feminism: Or Why Is Postfeminism So Boring?................. 155 Imelda Whelehan More for the Fit: Gender and Class in the Representation of Designated Adoption in a Selection of U.S. Television Series ................................ 173 Chloé Avril ―In movies, someone always has to play the bad guy‖: Mediatized Subjectivities and Youth Media Production .......................................... 197 Michelle -
Central Synagogue London
CENTRAL SYNAGOGUE LONDON 77• 5777• 5777• 577777• 5777• 5 2016 • 2016 • 2016 • 2016 • 2016 • 2 7• 5777• 5777• 5777• 5777• 5777• 16• 2016• 2016 • 2016 • 2016 • 2016• 5777• 5777• 5777• 5777• 5777• 5777 16• 2016• 2016 • 2016 • 2016 • 2016• 77• 5777• 5777• 5777• 5777• 5777• • 2016• 2016 • 2016 • 2016 • 2016• 7• 5777• 5777• 5777• 5777• 5777• 016• 2016 • 2016 • 2016 • 2016• 2016 • 5777• 5777• 5777• 5777• 5777• 5777 016• 2016 • 2016 • 2016 • 2016• 2016• 77• 5777• 5777• 5777• 5777• 5777• 6 2016 • 2016 • 2016 • 2016• 2016• S e p t e m b e r 2 0 1 6 • Tishrei 5777 Centra lSynagogue Great Portland Street 36 Hallam Street, London W1W 6NW Tel: 020 7580 1355 • Fax: 020 7636 3831 e-mail: [email protected] website: www.centralsynagogue.org.uk Rabbi Barry Marcus MBE B.A. (Hons) PGCE Cantor Steven Leas B.Com B.Acc CA (SA) Chairman Barry Townsley CBE Vice Chairman Melvin Lawson Wardens Stuart Lewis • Harold Schogger Financial Representative Stanley Salter Board of Management Kenny Arfin • David Baker • Jacqueline Charles • Valerie Cohen • Michael Fishberg • Aron Freedman Ze’ev Galibov • Harvey Goldsmith • Margaret Grant • James Hyman • Richard Midda • Carole Murray Lois Peltz • Adrienne Phillips • Terry Samek • Daphne Schogger • Allan Swiel Security Officer Nigel Gee Security Liaison Officer Maurice Shamash Welfare Officer Roger Cohen Ladies Guild Chairman Sara Cohen Children’s Service Raquel Amit • Yoav Amit • Nicola Burns • Harold Schogger US Council Representatives Nicola Burns • Adrienne Phillips • Laurie Phillips • Daphne Schogger